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PEP-Easy Tip: To save PEP-Easy to the home screen

PEP-Web Tip of the Day

To start PEP-Easy without first opening your browser–just as you would start a mobile app, you can save a shortcut to your home screen.

First, in Chrome or Safari, depending on your platform, open PEP-Easy from pepeasy.pep-web.org. You want to be on the default start screen, so you have a clean workspace.

Then, depending on your mobile device…follow the instructions below:

On IOS:

  1. Tap on the share icon Action navigation bar and tab bar icon
  2. In the bottom list, tap on ‘Add to home screen’
  3. In the “Add to Home” confirmation “bubble”, tap “Add”

On Android:

  1. Tap on the Chrome menu (Vertical Ellipses)
  2. Select “Add to Home Screen” from the menu

 

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Hoggett, P. (1986). Aspects of longing. Free Associations, 1(4):120-138.

(1986). Free Associations, 1(4):120-138

Aspects of longing

Paul Hoggett

The following essay was occasioned by reading Richard Lichtman's The Production of Desire — a book with a promising title, I thought as I opened the first few pages. Some months later, having completed this difficult but generally rewarding book, I nevertheless couldn't help feeling a bit cheated: the book didn't seem to be about desire at all — or not as I understood the term. The writing that follows is, therefore, not so much a review of Lichtman, though I will refer specifically to his book on occasions, as an attempt to compensate myself for feeling that my wish to understand desire had not been adequately met.

It could be that my mind is becoming too tidy but I've become irritated by a proliferation of terms, used in an increasingly arbitrary fashion, to describe aspects of human longing. In particular, the term ‘desire’ seems to be popping up everywhere at the moment. In addition to Lichtman's book, we hear of ‘feminine desire’ (Coward), ‘desire machines’ (Deleuze and Guattari), ‘the age of desire’ (Kovel) …; the list seems endless. Yet when one scrutinizes such texts closely it becomes clear that the greater the voguishness of this term, the sloppier its usage. Indeed, this confusion is not something which applies just to works of cultural criticism, for there are real ambiguities within the theoretical paradigms from which much of this criticism flows.

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

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